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BLUM & POE  Los Angeles | New York | Tokyo • #BlumandPoe

"The Incongruous Body" opens tonight at the American Museum of Ceramic Art in Pomona, CA. Featuring thirteen new ceramic vases by #YoshitomoNara and many more.
Curator Timothy John Berg brings together fourteen artists who represent, stylize, hybridize, and deconstruct the human body to starkly different comic effect. Their work is politically poignant and socially engaging; it uses observational humor and storytelling; it challenges the status quo; it defies logic; it misdirects; it exploits cultural iconography and historical references, and most of all it lays bare the inner workings of their wit.
Swipe → → → Images: "Peaceful Night" (2018); "Night and Day" (2018); "North, South, East and West" (2018)

Blum & Poe is pleased to present a body of work spanning three decades by Tokyo-based artist Yukie Ishikawa. This is Ishikawa’s first solo presentation with the gallery.

Yukie Ishikawa began her career in the late 1980s as the Japanese New Painting movement, which developed alongside American and European Neo-Expressionism, gave way to new artistic possibilities. During this time in Japan, artists began to explore subversive artistic languages of simulacra and appropriation that responded to the zeitgeist of design and advertisement culture during the bubble economy. Ishikawa’s practice is distinct for its conscientious response against the history of Modernist painting and against the monochromatic space found in Minimalist art. The compositions originate from photographs of miscellaneous subject matter she finds in magazines, advertisements, newspapers, and books, which she enlarges, projects, and traces onto the canvas. Although this tracing of form ostensibly results in two-dimensional planes, in Ishikawa’s view one can visually reconstruct three-dimensional space within them. Deliberately composing and coloring the abstractions in order to obfuscate the identity of the original source material, she seeks to create “a pictorial space outside of the three-dimensional space to which those things belonged.” In some works, Ishikawa employs her interpretation of 'tentai.' Translating literally as “spot and substance,” 'tentai' is a technique in ink painting that dates back to 9th-century China—a collaborative interplay of meaning and representation—in which trees, rocks, and mountains are depicted through the application of pointillist ink dots, creating a foggy sense of vitality and rhythm. As such, Ishikawa partakes in Postmodernist strategies of deconstructing Modernist abstraction by appropriating the unique collective unconscious of Japanese advertisement culture through a distinctive engagement with traditional techniques of ink landscape painting.

Opening Saturday, September 1, 6 – 8pm at Blum & Poe Tokyo #YukieIshikawa

Join us! Saturday, August 18, 7-10pm at Blum & Poe LA for the California Coalition for Women Prisoners Benefit Auction to Combat Mass Incarceration

Artworks by more than 40 artists including Cindy Sherman, Kiki Smith, Louise Lawler, Janiva Ellis, Laurie Simmons, Torey Thornton, and more exclusively on @Paddle8 August 15-29

The event on August 18 is open to the public and will showcase the donated artworks, celebrate CCWP's efforts, and educate about the Prison Industrial Complex (PIC). The works may also be viewed at the gallery by appointment only August 16 and 17

CCWP (@ca_coalition) is a grassroots social justice organization, with members inside and outside of prison, that challenges the institutional violence imposed on women, transgender people, and communities of color by the Prison Industrial Complex

The funds raised from this art auction and benefit event will help sustain the work of CCWP: visiting California’s prisons as legal and healthcare advocates, demanding accountability from local and state governments, drafting and amplifying legislation to support the survival and release of people in prison, and creating paid work opportunities for formerly incarcerated people

A throw back to Lynda Benglis' cast bronze fountains installed at the LA gallery in 2017 — "SUMMER DREAMS" (2003) and the others were named after the remarkably upbeat titles given to specific nuclear explosions, and resemble the mushroom clouds of a post-detonation sky. #summerdreams #lyndabenglis #tbt

2 weeks left to see #WendellDayton's stainless steel sculptures that span six decades of the artist’s oeuvre and populate the entirety of the downstairs and upstairs galleries, and outdoor gardens — the octogenarian's first major solo exhibition — listen in tonight to @kcrw’s Art Talk with Edward Goldman on Wendell's life and work 🔊

Conceived as one work, Mark Grotjahn's "50 Kitchens" @lacma takes its inspiration from a single composition (in black and cream-colored pencil) that Grotjahn made to meet the dimensional specifications of a wall in his kitchen. The more than 50 subsequent chromatic drawings explore pairs of radiating colors (like Tuscan Red and Chartreuse, or Grass Green and Canary Yellow) and together create a prismatic display. The works allude to artists interested in color, light, and optics, such as Wassily Kandinsky and the Op art painters of the 1960s, and also incorporate residual traces of earlier drawings that have been seamlessly integrated into the new works 🌈🌈🌈

"50 Kitchens" on view until August 19
Images — Artwork: © Mark Grotjahn, photo © Museum Associates/LACMA

Yun Hyong-keun's first major retrospective in Korea, curated by Kim In-hye, opens August 3 at the National Museum of Modern and Contemporary Art, Seoul

Born in 1928 in Cheongju, North Chungcheong Province, Yun Hyong-keun lived through one of the most traumatic periods of Korean history, suffering great misfortune related to Japanese colonial rule, the Korean War, and the postwar dictatorship. Yun endured four political incarcerations, one for which he was sentenced to death by firing squad, miraculously escaping execution. Only after surviving these harrowing incidents did Yun fully commit himself to making art in 1973, at forty-five years old.

Upon dedicating himself to painting, Yun established his own distinct artistic world, which he called the "gate of heaven and earth." In the definitive series of works that he began in the 1970s, Yun used a wide brush to apply thick blocks of paint to canvases of plain cotton or linen, using deep blue (representing "heaven") and umber (representing "earth"). With these works, Yun succeeded in permeating the values of Korean traditional aesthetics with a lexicon of international contemporary art.

Eleven years after his death, this exhibition explores Yun's life and art with unprecedented range and depth, introducing many details and perspectives that have yet to receive such attention.
#YunHyongkeun #Dansaekhwa

"I was really looking at the waking of the feminine. Now she's really waking up ... How are we going to embrace this energy?" #PennySlinger in current issue of @autremagazine #♀

Image: “Swan Lake” (1976-77)
Collage on board

"The search that has no object resonated with Varda; she is, by her own admission, a gleaner for whom searching and living are coincident. The natural terminus of such a search—the beach—was where Varda felt most at home. The edge of the sea is both a symbol of dramatic finality and endless expansion, and what happens there is one of Varda’s great themes." — Sasha Archibald via @eastofborneo

“Bord de Mer" is Varda's first exhibition in Tokyo, centered on a video installation which portrays three distinct dimensions of time—past, permanent, and present. A still image projected onto a vertical screen reveals a view of the ocean; on a sloped platform below, moving footage shows a wave rolling and dissolving into the shoreline; finally, this platform merges with a small beach of sand at the viewer’s feet.
Until August 4 #AgnesVarda #Tokyo

⚡️Flash back to 1974 — #WendellDayton and his stainless steel sculpture "Meteor" installed in his Silver Lake, CA driveway — his solo exhibition on view @blumandpoe LA through August ☄️

San Francisco! See you tomorrow at the opening of the @sfartbookfair, promoting books, prints, & objects old, new, & upcoming!

New monographs on #FriedrichKunath & #HenryTaylor coming this fall ... ⏳... 🎉🎊

#VictorMan's show "The Chandler" @eneltamayo, Mexico City, on view until September 30 🕯

Victor Man's work proposes the continuity of seemingly unrelated images, objects, cultures, historical events, and personal memory. Man's influences are both classical and contemporary, connecting iconographic references from Western art to literary, mythical, and imaginary ideas of his own. Through the use of non-linear narratives, he blends and dilutes the lines between past and present, fiction and reality.

The Chandler is a series of portraits presenting a seated, decapitated figure holding its head in its lap. The figure is portrayed with elements of male and female genders, a subtle reference to Virginia Woolf's novel Orlando about a poet who transitions from man to woman. As with much of Man's work The Chandler also alludes to historical elements — in this case Acéphale, derived from the Greek ἀκέφαλος (akephalos, "headless"). In another referential layer, Man channels Giordano Bruno's work on cosmology, which concluded that stars are distant suns surrounded by their own circulating planets. Known as cosmic pluralism, the proposal suggests an infinite universe, with no specific celestial body at its center. In this exhibition, The Chandler intentionally positions the viewer in relation to each painting in accordance with these rotational patterns followed by revolving planets.

The series' title refers to the medieval term for candle maker, or specifically, the person who cuts off the tip of a candle in order to light it. With these works, Man carries out the principal act of the chandler by severing the upper end of his composition, and igniting a metaphorical fire.

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